MAUREEN PALEY.

JAMES WELLING

www.jameswelling.net

Born 1951, Hartford, Connecticut, USA.
Lives and works in Los Angeles, California, USA.

Education

  • 1969-71 Carnegie-Mellon University, Pittsburgh, USA.
  • 1971-74 California Institute of the Arts, Valencia, USA.; BFA, MFA.

Solo Exhibitions

(C) denotes that a catalogue was published in conjunction with the exhibition.

  • 2014 Diary of Elizabeth & James Dixon/Connecticut Landscapes, Art Institute of Chicago, Chicgo, USA [catalogue forthcoming]
  • 2013 James Welling: The Mind on Fire, Contemporary Art Gallery, Vancouver. (C)
    James Welling: Monograph, Cincinnati Art Museum, Ohio, USA. (C)
    James Welling: Monograph, Hammer Museum, LA, California
    James Welling: Autoograph, Fotomuseum, Winterthur, Switzerland.
    James Welling: Open Space, University Museum of Contemporary Art, UMASS Amherst, Amherst, Massachusetts
  • 2012 Brandywine River Museum, Chadds Ford, Pennsylvania, USA. (C)
    James Welling: The Mind on Fire, MK Gallery, Milton Keynes, UK. (C)
    Overflow, David Zwirner, New York.
    The Wadsworth Atheneum Museum of Art, Hartford, Connecticut, USA.
    Regen Projects, Los Angeles, USA.
    Wako Works of Art, Tokyo. Japan. (C)
  • 2011 Glass House, Maureen Paley, London.
  • Galería Marta Cervera, Madrid, Spain.
  • 2010 James Welling Photographs The Phillip Johnson Glass House, The Four Seasons Restaurant, New York, USA.
    Galería Marta Cervera, Madrid, Spain.
    Glass House, Maureen Paley, London, UK.
  • 2009 Notes on Color, Wako Works Of Art, Tokyo, Japan
  • Galerie Nelson-Freeman, Paris, France.
  • Hapax Legomena, Donald Young Gallery, Chicago, USA.
  • Picturing the Studio, School of the Art Institute of Chicago, Chicago, USA.
  • 2008 James Welling, Works 1980 – 2008, David Zwirner, New York, USA.
  • Regen Projects, Los Angeles, USA.
  • James Welling, Galerie Nächt St. Stephen Rosemarie Schwarzwälder, Vienna, Austria.
  • 2007 Maureen Paley, London, UK. (C)
  • David Zwirner, New York, USA. (C)
  • Flowers, 2005, Horticultural Society of New York, New York, USA.
  • 2006 James Welling: New Photographs, WAKO Works of Art, Tokyo, Japan.
  • Galerie Nelson, Paris, France.
  • Xavier Hufkens, Brussels, Belgium.
  • Donald Young Gallery, Chicago, USA.
  • 2005 James Welling: New Work, David Zwirner, New York, USA.
  • James Welling: New Photographs, Regen Projects, Los Angeles, USA.
  • 2004 New Photographs, Wako Works of Art, Tokyo, Japan.
  • Agricultural Works, Samuel Dorsky Museum of Art, SUNY New Paltz, USA. (C)
  • California, Galerie Nachst St. Stephan, Vienna, Austria.
  • 2003 James Welling: Los Angeles, Gorney Bravin + Lee, New York, USA.
  • James Welling: New Photographs, Regen Projects, Los Angeles, USA.
  • Galleria Raffaella Cortese, Milan, Italy.
  • 2002 James Welling Abstract, Art Gallery of York University, Toronto, Canada; Palais des Beaux-Arts, Brussels, Belgium. (C)
  • James Welling Abstract, Donald Young Gallery, Chicago, USA.
  • 2001 Galerie Daniel Buchholz, Cologne, Germany.
  • 2000 New Abstractions and Photographs from the Seventies, Galerie Xavier Hufkens,Brussels, Belgium.
  • New Abstractions and Work from the Seventies, Donald Young Gallery, Chicago, USA.
  • James Welling: 1974-1999, Wexner Center for the Arts, Columbus, USA; Baltimore Museum of Art, Baltimore, U.S.A; Museum of Contemporary Art, Los Angeles, USA.
  • New Abstractions, Regen Projects, Los Angeles, USA.
  • Galerie Nelson, Paris, France.
  • Gorney Bravin + Lee, New York, USA.
  • 1999 New Abstractions, Sprengel Museum, Hannover, Germany.
  • Photographs 1981-98, Society for Contemporary Photography, Kansas City, USA.
  • Galerie Barbara Gross, Münich, Germany.
  • Wako Works of Art, Tokyo, Japan.
  • 1998 1981, Galerie Xavier Hufkens, Brussels, Belgium.
  • Light Sources, Regen Projects, Los Angeles, USA.
  • Kunstmuseum Lucerne, Switzerland.
  • Galerie Nelson, Paris. France.
  • Forum: James Welling, Carnegie Museum of Art, Pittsburgh, USA.
  • Early photographs 1976-1985, Leslie Tonkonow, New York, USA.
  • 1997 Eastern Window, Haus Editions, Antwerp, Belgium.
  • Light Sources, Jay Gorney Modern Art, New York, USA.
  • Light Sources, Galerie Paul Andriesse, Amsterdam, Netherlands.
  • Light Sources, Galerie Xavier Hufkens, Brussels, Belgium.
  • Light Sources, S. L. Simpson Gallery, Toronto, Canada.
  • 1996 Calais Lace Factories, Camden Arts Center, London, UK.
  • 1995 Whitney Center, Hamden, USA.
  • Jürgen Becker, Hamburg, Germany.
  • Wako Works of Art, Tokyo, Japan.
  • The Ugly America, American Fine Arts, Co., New York, USA.
  • Módulo / Centro Difusor de Arte, Lisbon, Portugal.
  • Project room, Jay Gorney Modern Art, New York, USA.
  • 1994 Regen Projects, Los Angeles, USA.
  • Photographs from the 90’s, Galerie Paul Andriesse, Amsterdam, Netherlands.
  • Wolfsburg, Kunstmuseum Wolfsburg, Wolfsburg, Germany.
  • James Welling: Photographs from the 90’s, Galerie Nelson, Paris, France.
  • Galerie Nächst St. Stephan, Vienna, Austria.
  • Arts Club of Chicago, Chicago, USA.
  • 1993 Wako Works of Art, Tokyo. (C)
  • Galerie Xavier Hufkens, Brussels, Belgium.
  • S.L. Simpson Gallery, Toronto, Canada.
  • Calais Lace Factories, Jay Gorney Modern Art, New York, USA.
  • Usines de Dentelle, Galerie de l’Ancienne Poste, Calais, France. (C)
  • 1992 Galerie Samia Saouma, Paris, France.
  • Donald Young Gallery, Seattle, USA.
  • Musée de la Roche sur Yon, La Roche sur Yon, France.
  • Musée Départemental d’Art Contemporain de Rochechouart, Limoges, France. (C)
  • Künstnernes Hus, Oslo, Norway. (C)
  • The Gangplank, Lawrence Markey Gallery, New York, USA.
  • 1991 Jay Gorney Modern Art, New York, USA.
  • 1990 Galerie Samia Saouma, Paris, France.
  • Les Voies Ferrées / St. Etienne et la Plaine du Forez, Maison de la Culture et de la Communication de Saint-Etienne, Saint-Etienne, France, (C).
  • Sous-Sol, Ecole Supérieure d’Art Visuel, Geneva, Switzerland. (C)
  • 1989 Beaver College Art Gallery, Glenside, USA.
  • Photography and Abstraction, The Bertha and Karl Leubsdorf Art Gallery, Hunter College, New York, USA, (C).
  • Galerie Nächst St. Stephan, Vienna, Austria, (C).
  • 1988 Feature Gallery, Chicago, USA.
  • Galerie Philip Nelson, Lyon, France.
  • Jay Gorney Modern Art, New York, USA.
  • Johnen & Schüttle, Cologne, Germany.
  • Christine Burgin Gallery, New York, USA.
  • 1987 Galerie Samia Saouma, Paris, France.
  • Kuhlenschmidt/Simon, Los Angeles, USA.
  • Feature, Chicago, USA.
  • 1986 Cash/Newhouse, New York, USA.
  • 1985 Cash/Newhouse, New York, USA.
  • 1984 CEPA, Buffalo, USA.
  • 1982 Metro Pictures, New York, USA.
  • 1981 Metro Pictures, New York, USA.
  • 1976 Arco Center for Visual Art, Los Angeles, USA.
  • 1973 Project, INC, Cambridge, USA.

Group Exhibitions

(C) denotes that a catalogue was published in conjunction with the exhibition.

  • 2015 Darkroom Alchemists, Getty Center, Los Angeles (forthcoming)
  • 2014 Fiona Banner selects from the V-A-C Collection, Stamp Out Photographie, Whitechapel Gallery, London, UK
    Another, Once Again, Many Times More, Martos, New York, USA Back grounds: Impressions Photographiques (2), Andrea Rosen Gallery, New York
    Staring at the Sun, Griffin Editions, Blind Spot Lab, New York
    What is a Photograph? International Center of Photography, New York. (C)
    The Will to Architecture, The Museum of Fine Arts, Houston
  • 2013 Alchemical, Steven Kasher Gallery, New York
    The Black Mirror, Diane Rosenstein Fine Art, Los Angeles (curated by James Welling)
    Endless Bummer II/Still Bummin’, Marlborough Gallery, New York
    The Estate, Galerie Micky Schubert, Berlin
    Looking Forward: Gifts of Contemporary Art from the Patricia A. Bell Collection, Montclair Art, Museum, Montclair, New Jersey
    The Polaroid Years: Instant Photography and Experimentation, The Frances Lehman Loeb Art, Center, College, Poughkeepsie, New York [itinerary: Norton Museum of Art, West Palm Beach, Florida]. (C)
    Tenth Anniversary Show, Wallspace, New York
    Think First, Shoot Later: Photography from the MCA Collection, Museum of Contemporary Art, Chicago
  • 2012 101 Collection: Route 3, CCA Wattis Institute for Contemporary Arts, San Francisco, USA.
    The Permanent Way, Apexart, New York, USA.
    This Will Have Been: Art, Love, & Politics in the 1980s, Museum of Contemporary Art (MCA), Chicago, USA. Travels to Walker Art Center, Minneapolis; Institute for Contemporary Art, Boston.
  • 2011 Anti-Photography, Focal Point and The Beecroft Art Gallery, Southend-on-Sea, UK.
  • Under the Big Black Sun: California Art 1974-1981, Museum of Contemporary Art Los Angeles, Los Angeles, USA
  • Jeff Wall: The Crooked Path, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain
  • New Space, New Works, Wako Works of Art, Tokyo, Japan
  • Seeing Now: Photography Since 1960, Baltimore Museum of Art, Baltimore, USA
    Stairway to Heaven, Susan Inglett Gallery, New York.
    Sunless, curated by Walead Beshty, Thomas Dane, London.
    The Artist’s Museum, MOCA, Msueum of Contemporary Art, Los Angeles.
  • 2010 The City Proper (curated by), Margo Leavin Gallery, Los Angeles, USA.
  • After Architects, Kunsthalle Basel, Switzerland.
  • Connecticut, D’Amelio Terras, New York.
  • Group Show, BravinLee programs, New York
  • How Many Billboards? Art In Stead, MAK Center for Art + Architecture at the Schindler House, Los Angeles, (21 commissioned art works exhibited on billboards throughout Los Angeles)
  • Self-fulfilling Prophecies, Leo Koenig Inc., New York, USA.
  • 2009 The Edge of Vision, Mois de la Photo à Montréal, Montréal, Canada.
  • The Pictures Generation, 1974 – 1984, Metropolitan Museum of Art, New York. (C)
  • Quodlibet II, Galerie Daniel Buchholz, Cologne.
  • Vague Terrain: Analogues of Place in Contemporary Photography, FLAG Art Foundation, New York, USA.
  • 2008 Espèces D’Espace, Magasin: Centre National d’Art Contemporain, Grenoble, France.
  • The Gallery, David Zwirner, New York, USA.
  • No Room, Christopher Grimes Gallery, Los Angeles, USA.
  • Untitled (Vicarious) Photographing The Constructed Object, Gagosian, New York, USA.
  • When it’s a Photograph, Bolsky Gallery, Otis College of Art & Design, Los Angeles, USA. (C)
  • Whitney Biennial 2008, Whitney Museum of American Art, New York, USA.
  • 2007 Concrete Works, Mitchell-Innes & Nash, New York, USA.
  • Paint It Blue: Works from the ACT Art Collection/ Siegfried Loch, Neues Museum Weserburg Bremen, Bremen, Germany.
  • Real Life, Artist’s Space, New York, USA.
  • Global Anxieties, The College of Wooster Art Museum, Wooster, USA.
  • Les Temps Modernes: Collection du Frac Bretagne, Domaine de Kerguehennec, Bignan, France.
  • End(s) of Photography: Modeling the Photographic, McDonough Museum of Art, Youngstown State University, Youngstown, USA.
  • Edit! Photography and Film in the Ellipse Collection, Centro de Artes Visuais, Coimbra, Portugal.
  • L.A. Desire (Part 1), Galerie Dennis Kimmerich, Düsseldorf, Germany.
  • Viewfinder, Henry Art Gallery, Seattle, USA.
  • 15 Years, Wako Works of Art, Tokyo, Japan.
  • 2006 Double Exposure, Center for Contemporary Non-Objective Art, Brussels, Belgium.
  • The Eighties: Topology, Museu de Serralves, Porto, Portugal. (C)
  • The Gold Standard, P. S. 1 Contemporary Art Center, New York, USA.
  • Sixteen Tons, The Eli and Edythe Broad Art Center, University of California, Los Angeles, USA.
  • Our Town: Architecture in Art, Hudson Untitled Foundation, Hudson, USA.
  • Verde, Jessica Bradley Art + Projects, Toronto, Canada.
  • TomorrowLand: CalArts in Moving Pictures, touring exhibition, Museum of Modern Art, New York; Centre Pompidou, Paris, France.
  • In Focus: 75 Years of Collecting American Photography, Addison Gallery of American Art at Phillips Academy, Andover, USA.
  • Dark Places, Santa Monica Museum of Modern Art, Los Angeles, USA.
  • It’s not a photo, Chelsea Art Museum, New York, USA.
  • The Los Angeles Art Scene, 1955-1985, Centre Georges Pompidou, Paris, France. (C)
  • Studio City, Tal Esther Gallery, Tel Aviv, Israel.
  • The Monty Hall Problem, Blum & Poe, Los Angeles, USA.
  • Joshua White, Los Angeles, USA.
  • 2005 Photographies, Galerie Nelson, Paris, France.
  • The Photograph in Question, von Lintel Gallery, New York, USA.
  • Theorema. Une collection privée en Italie, la collection d’Enea Righi, Collection Lambert en Avignon, Avignon, France.
  • Blooming: A Summer Garden for the Picking, Carl Solway Gallery, Cincinnati. USA.
  • 2004 In America; William Eggleston, Roe Ethridge, Stephen Shore, Joel Sternfeld, James Welling, Sutton Lane, London, UK.
  • Eblouissement, Jeu de Paume, Paris, France.
  • 100 Artists See God, Independent Curators International, New York; The Jewish Museum, San Francisco; Laguna Art Museum, Laguna Beach; Contemporary Art Center of Virginia, Virginia Beach, U.S.A. curated by John Baldessari and Meg Cranston.
  • The Big Nothing, Institute of Contemporary Art, Philadelphia, USA.
  • Art History: Photography References Painting, Yancey Richardson Gallery, New York, USA.
  • Likeness: Portraits by Artists by Other Artists, CCA Wattis Institute and Independent Curators International, San Francisco; McColl Center for Visual Art, Charlotte; Institute of Contemporary Art, Boston; Dalhousie University Art Gallery, Halifax, Nova Scotia, Canada; University Art Museum, California State University at Long Beach, Long Beach; Illingworth Kerr Gallery, Alberta College of Art & Design, Calgary, Alberta; Contemporary Art Center of Virginia, Virginia Beach, USA. (C)
  • Double Exposure: A Portfolio of Photographic Diptychs, Inman Gallery, Houston, USA.
  • Spread in Prato, Prato, Italy.
  • 2003 The Last Picture Show: Artists Using Photography, 1960-82, Walker Art Center, Minneapolis; UCLA Hammer Museum, Los Angeles, USA; Museo de Arte Contemporanea de Vigo, Vigo, Spain; Fotomuseum Winterthur, Winterthur, Switzerland.
  • Prima Facie, Nina Freudenheim Gallery, Buffalo, USA.
  • Auction for Photographic Education in Afghanistan, Christies, New York, USA.
  • Double Exposure, Edition Schellmann, New York, USA.
  • Inaugural Exhibition, Regen Projects, Los Angeles, USA.
  • Stéphane Couturier – Philippe De Gobert – Matthias Hoch – Bernard Voïta – James Welling, Galerie Rodolphe Janssen, Brussels, Belgium.
  • Imaging the Abstract, Feigen Contemporary, New York, USA.
  • Back Grounds – Impressions, Andrew Kreps Gallery, New York, USA.
  • Abstraction in Photography, Von Lintel Gallery, New York, USA.
  • Rethinking Photography/Narration and Reduction in Photography, Forum Stadpark, Graz, Austria.
  • Artist’s Gifts, MOCA, Los Angeles, USA.
  • 2002 Art Downtown: New Photography Wall St Rising, New York, USA.
  • Remarks On Color, Sean Kelly Gallery, New York, USA.
  • Regarding Landscape, Museum of Contemporary Canadian Art, Toronto; Saidye
  • Bronfman Centre for the Visual Arts, Montreal, Canada, curated by Gregory Salzman
  • New Acquisitions/New Work/New Directions 3: Contemporary Selections, LACMA, Los Angeles, USA.
  • Fold, Drapery in Contemporary Visual Culture, City Gallery, Leicester, UK.
  • Visions from America, Photographs from the Whitney Museum of American Art, 1940-2001, Whitney Museum of American Art, New York, USA.
  • Painting Matter, James Cohan Gallery, New York, USA.
  • Hot and New in 2002: A Print and Photography Exhibition and Sale, Katonah Museum of Art, Katonah
  • Photography by Gallery Artists, Donald Young Gallery, Chicago
  • Acquiring Taste, Real Art Ways, Hartford
  • Fotografie, Landschaften, Towntown, Abstractions, Barbara Gross Galerie, Munich
  • Ballpoint Inkings, Geoffrey Young Gallery, Great Barrington
  • Transform the World 2002, Wako Works of Art, Tokyo
  • 2001-2002 This is not a photograph, University Art Gallery, University of California at San Diego, La Jolla [itinerary: Bayly Art Museum, University of Virginia, Charlottesville; DePaul University, Chicago; Williams Center for the Arts, Lafayette College, Easton]
  • 2001 Nature in Photography, Galerie Nachst St. Stephan, Vienna
  • Ellipsis, Leslie Tonkonow Artworks + Projects, New York; curated by Julie Baranes.
  • This Side of Paradise, Marian Goodman Gallery.
  • W, Musée des Beaux-Arts, Dole, France; curated by Robert Nickas
  • At Home, Lennon, Weinberg, Inc., New York; curated by Stephanie Theodore
  • Kaye Donachie, Maureen Gallace & James Welling, Maureen Paley Interim Art, London
  • Next Wave Prints, Elias Fine Art, Allston
  • Maureen Paley Interim Art, London
  • 2000 As Painting: Division and Displacement, Wexner Center for the Arts, Columbus; curated by Philip Armstrong, Laura Lisbon and Stephen Melville [catalogue]
  • Black & White, Anita Friedman Fine Arts, New York
  • Photo Art Photo, Andrew Kreps Gallery, New York
  • Light-heeled, light-handed: Edward Ruscha, Julius Schulman, James Welling, Kölnischer Kunstverein, Cologne, Germany: curated by Lynne Cooke
  • Los Angeles, Monika Sprüth and Philomene Magers, Cologne
  • A Changing Summer Group Exhibition, Senior & Shopmaker Gallery, New York
  • Sharon Lockhart / James Welling, Blum & Poe, Los Angeles
  • 1999 Re-Structure, Grinnell College Art Gallery Bucksbaum Center for the Arts, Grinnell
  • Sequences, University Art Museum, California State University, Long Beach
  • Thin Air, Julie Saul Gallery, New York
  • Plain Air, Barbara Gladstone Gallery, New York
  • Pencils of Nature: A Dialogue, Leslie Tonkonow Artworks + Projects, New York
  • Gesammelte Werke 1: Zeitgenössisches Kunst zeit 1968, Kunstmuseum Wolfsburg, Wolfsburg
  • Gallery Artists, Gorney Bravin + Lee, New York
  • Schöpfung. Diösanmuseum, Munich [catalogue]
  • Multiplicity, Angles Gallery, Los Angeles
  • Thomas Struth, Hiroshi Sugimoto, James Welling, Galerie Nächst St. Stephan, Vienna
  • 1998 Stare, Marianne Boesky Gallery, New York
  • Exterminating Angel, Ghislaine Husenot, Paris
  • Nouvelles acquisitions, 97, Frac Champagne-Ardenne, Reims
  • Art that happens to be photography, Nina Freudenheim Gallery, Buffalo
  • L’Hypothèse du tableau volé, Musée d’art moderne et contemporaine, Geneva
  • Sequences, Edition Schellman, New York
  • Launch of the New Evergreen Review, 644 Broadway, New York
  • TransFiction 1, Charim Klocker, Vienna
  • The Cultured Tourist, Leslie Tonkonow Artworks + Projects, New York
  • Dust Breeding: Photographs, Sculpture & Film, Fraenkel Gallery, San Francisco; curated by Steve Wolfe
  • From the Heart: The Power of Photograph – A Collector’s Choice, Art Museum of Texas, Corpus Christi, TX; curated by Adam D. Weinberg
  • Sea Change: The Seascape in Contemporary Photography, Center for Creative
  • Photography, The University of Arizona, Tucson [itinerary: I.C.P., New York et al]
  • Mysterious Voyages: Exploring the Subject of Photography, Contemporary Museum, Baltimore
  • Utz, A Collected Exhibition, Lennon Weinberg, New York; curated by Stephanie Theodore
  • Paul Strand / James Welling, Galerie Nächst St. Stephan / Rosemarie Schwarzwälder, Vienna, [catalogue]
  • 1997 – 1998 Track Records, Oakville Galleries, Oakville, Ontario [itinerary: Canadian Museum of Contemporary Photography, Ottawa, Ontario; Presentation House Gallery, North Vancouver; The Illingworth Kerr Gallery, Alberta College of Art, Calgary, Alberta; Centre culturel Université de Sherbrooke, Sherbrooke; Centre d’exposition de Durmmondville, Durmmondville]
  • Kunst… Arbeit, Südwestdeutsche Landesbank, Stuttgart
  • Heart, Mind, Body, Soul: American Art in the 1990s, Selections from the Permanent
  • Collection; The Whitney Museum of American Art, New York
  • 1997 Contemporary Collections 97, Los Angeles Center for Photographic Studies, Los Angeles
  • Surface Auction, MAK Center for Art & Architecture, Los Angeles
  • Heaven, P.S.1, Long Island City
  • Staging Surrealism: A Succession of Collections 2, Wexner Center for the Arts, Columbus
  • Bring your own Walkman, W139, Amsterdam [CD catalogue]
  • Photographie d’une collection, Caisse des Dépôts et Consignements, Paris [catalogue]
  • About Painting: Eggleston, Gerber, Gursky, Kalpakjian, Polidori, Welling, Robert Miller Gallery, New York
  • Density or the unimaginable museum / discontinuity / synchrony / presence, Domaine de Kerguehennec, Centre d’Art Contemporain, Bignan; curated by Denys Zacharopoulos
  • Ausstellung 10 Jahre Stiftung Kunsthalle Bern, Kunsthalle Bern, Bern
  • Someone else with my fingerprints, David Zwirner, New York; curated by Wilhelm Schürmann.
  • 1996 Muse [x] Editions: recent publications, Shoshana Wayne Gallery, Los Angeles
  • 100 Photographs, American Fine Arts, Co., New York
  • Evident: New Landscape Photography, The Photographers’ Gallery, London;curated by Andrew Cross
  • Just Past: The Contemporary in MOCA’s Permanent Collection, 1975-96, Museum of Contemporary Art, Los Angeles
  • Blind Spot Photography: The First Four Years, Paolo Baldacci Gallery, New York (and benefit auction at Christie’s)
  • Lynda Benglis, John Chamberlain, Rudolf Stingel, James Welling, Margo Leavin Gallery, Los Angeles
  • Deep Surface, Pace Wildenstein McGill, Los Angeles
  • Ab Fab, Feature, Inc., New York
  • Swag & Puddle, The Work Space, New York; curated by Mary Jones & Janice Krasnow
  • Prospect 96: Photographie in der Gegenwartskunst, Frankfürter Kunstverein im Steinernen Haus and Schirn Kunsthalle Frankfurt, Frankfurt; curated by Peter Weiermair, (C)
  • 1995 Drawings and Photographs, Galerie Paul Andriesse, Amsterdam
  • Uta Barth, Candida Hofer, Andreas Gursky, James Welling, Rena Bransten Gallery, San Francisco
  • New Acquisitions: An Exhibition of Artists’ Books and Multiples, Art Metropole, Toronto
  • Summer Group Exhibition, American Fine Arts, Co., New York
  • The Reflected Image, Museo Pecci, Prato, Italy; curated by Antonella Soldaini & Paolo Colombo [catalogue]
  • After Art: Rethinking 150 Years of Photography, Henry Art Museum, Seattle [catalogue]
  • Degrees of Abstraction: From Morris Louis to Mapplethorpe, Museum of Fine Arts, Boston
  • Romantico Contemporaneo, Castello di Beutivaglio, Bologna
  • Fact and Fiction: Photographs from the Permanent Collection, Whitney Museum at Champion, Stanford
  • Abstract Photography, Baltimore Museum of Art, Baltimore
  • Blind Spot, McKinney Arts Center, Dallas
  • Strung into the Apollonian Dream, Feature Gallery, New York
  • 1994 Géométries, Galerie du TNB, Rennes
  • L’Amour Toujours, Le Carré / Musée Bonnat, Bayonne
  • Transport, Maier Museum of Art, Randolph-Macon Woman’s College, Lynchburg, VA; curated by Helen Miranda Wilson [catalogue]
  • G7, Theoretical Event, Naples
  • Werkstattquartier, Institut für Gegenwartskunst, Vienna
  • David Deutsch, Douglas Blau, James Welling, Jay Gorney Modern Art, New York
  • Content and Discontent in Today’s Photography, Friends of Photography, San Francisco [catalogue]
  • The Abstract Urge, Ansel Adams Center for Photography, San Francisco, [catalogue]
  • The Evolution of the Photogram since 1919, The Denver Art Museum, Denver [catalogue]
  • Experimental Vision, The Denver Art Museum, Denver, [catalogue]
  • Pictures of the Real World (In Real Time), Paula Cooper Gallery, New York; [itinerary: L’Usine, Dijon; and traveling] co-organized by Robert Nickas and On Kawara [catalogue]
  • The World of Tomorrow, Thomas Solomon’s Garage, Los Angeles; curated by Douglas Blau
  • Gaylen Gerber, Angela Grauerholz, James Welling, Galerie Nächst St.
  • Stephan/Rosemarie Schwarzwalder, Vienna
  • 1993 Nettverk, Kunstnernes Hus, Oslo, [catalogue]
  • The Sublime Void, Royal Museum of Fine Arts, Antwerp [catalogue]
  • Oeuvres du Patrimoine Contemporain Régional, L’Usine, Dijon
  • Jean-Marc Bustamante, Rosemarie Trockel, James Welling, Galerie Samia Saouma, Paris
  • Image First: Eight Photographers for the 90’s, Laura Carpenter Fine Arts, Santa Fe
  • October Portfolio One, Metro Pictures, New York
  • Jay Gorney Modern Art, New York
  • Galerie de l’Ancienne Poste, Calais
  • Jack Hanley Gallery, San Francisco
  • Galleri F15 Alby, Moss
  • 1992 Documenta IX, Kassel [catalogue]
  • Annina Nosei Gallery, New York
  • Rodney Graham, Sherrie Levine, James Welling, Christine Burgin Gallery, New York
  • Studio Guenzani, Milan
  • Skulpturen-Fragmente, Wiener Secession, Vienna [catalogue]
  • Une seconde pensée du paysage, Domaine de Kerguehennec
  • Johnen & Schöttle, Cologne
  • 1991 Les Grandes Lignes, Gare de l’Est, Paris [catalogue]
  • Vom Verschwinden der Dingle aus der Fotographie, Palais Liechtenstein, Vienna [catalogue]
  • Bernd & Hilla Becher, Jeff Wall, James Welling, Stuart Regen Gallery, Los Angeles
  • Photographing L.A. Architecture, Turner / Krull Gallery, Los Angeles
  • Fariba Hajamadi, Hirsch Perlman, James Welling, Richard Kuhlenschmidt Gallery, Santa Monica
  • Photography 1980 – 1990, Ginny Williams Gallery, Denver and Aspen
  • Galerie Nelson, Lyon
  • 1990 The Indomitable Spirit, International Center of Photography, New York
  • Johnen & Schüttle, Cologne
  • Perspectives on Place, San Diego State University Art Gallery, San Diego
  • Le Diaphane, Musée des Beaux-Arts, Tourcoing, [catalogue]
  • Une autre affaire, Centre National des Arts Plastiques DRAC de Bourgogne, Dijon, [itinerary: Maison Fyot, Le Consortium, Dijon]
  • Kunsthalle Bern, Bern, [catalogue]
  • 1989 Troy Brauntuch, Matt Mullican, James Welling, Kent Fine Arts, New York
  • Abstraction in Contemporary Photography, Emerson Gallery, Hamilton College, Clinton, [itinerary: Anderson Gallery, Virginia Commonwealth University, Richmond]
  • Studio Guenzani, Milano
  • Strange Attractors: Signs of Chaos, The New Museum of Contemporary Art, New York, [catalogue]
  • Pathetique, Galerie Schmela, Dusseldorf, West Germany; curated by Ronald Jones
  • International Camera, Salama-Caro Gallery, London
  • Linda Farris Gallery, Seattle, WA; curated by Bing Wright
  • A Forest of Signs: Art in the Crisis of Representation, Museum of Contemporary Art, Los Angeles, [catalogue]
  • Diagrams & Surrogates, Shea & Baker Gallery, New York; curated by Saul Ostrow
  • 1988 Bi National: American Art of the Late 80’s, Museum of Fine Arts, Boston, [itinerary: Kunsthalle, Dusseldorf] [catalogue]
  • Hybrid Neutral, Richard F. Brush Art Gallery, St. Lawrence Museum, New York; curated by Collins & Milazzo
  • Art at the End of the Social, Rooseum Museum, Stockholm; curated by Collins and Milazzo
  • Galerie Lelong, New York
  • Schlaf der Vernunft, Museum Fridericianum, Kassel, [catalogue]
  • Jay Gorney Modern Art, New York
  • Utopia Post Utopia: Configurations of Nature and Culture in Recent Sculpture and Photography,
  • Institute of Contemporary Art, Boston, [catalogue]
  • Implosion, Moderna Museet, Stockholm, [catalogue]
  • Photography and Art, Los Angeles County Museum of Art, Los Angeles
  • 1987 Recent Tendencies in Black and White, Sidney Janis Gallery, New York; curated by Jerry Saltz [catalogue]
  • Photo Mannerisms, Lawrence Oliver Gallery, Philadelphia; curated by Klaus Ottman
  • Malerei-Wandmalerei, Grazer Kunstverein, Graz, [catalogue]
  • Clegg & Guttmann, Richard Prince, James Welling, Galerie Nächst St. Stephan, Vienna
  • Photography and Art, Interactions since 1946, Los Angeles County Museum of Art, Los Angeles, [catalogue]
  • Generations of Geometry, Whitney Museum at Equitable Center, New York
  • The Ironic Sublime, Galerie Albrecht, Munich
  • Art Against AIDS, Baskerville & Watson, New York
  • New Locations, Jamie Wolff, New York, [catalogue]
  • Cal Arts: Skeptical Belief(s), The Renaissance Society, Chicago
  • Fariba Hajamadi, Gerhard Merz, James Welling, Christine Burgin Gallery, New York
  • Lemieux, Kruger, Nagy, Welling, Annina Nosei Gallery, New York
  • New Photography, Feature, Chicago
  • 1986 Rodney Graham / James Welling, Coburg Gallery, Vancouver
  • Barbara Ess, Ian Wallace, James Welling, Johnen & Schöttle, Cologne
  • Particulars, Baskerville & Watson, New York
  • Poetic Resemblance, Lougelton Gallery, New York
  • Picture Perfect, Kuhlenschmidt/Simon, Los Angeles
  • Paravision, Margo Leavin, Los Angeles
  • Vikky Alexander, Annette Lemieux, Allan McCollum, James Welling, Cash/Newhouse, New York
  • 1985 JAA Benefit, Cash/Newhouse, New York
  • Blow-Up, Feature, Chicago
  • Weird Beauty, The Palladium, New York
  • Final Love, Cash/Newhouse, New York
  • Louise Lawler, Laurie Simmons, James Welling, Metro Pictures, New York
  • A Summer Selection, Castelli Uptown, New York
  • P, 303 Gallery, New York
  • Seduction : Working Photographs, White Columns, New York
  • 1984 Ailleurs et Autrement, Musée d’Art Moderne de la Ville de Paris, Paris [catalogue]
  • Natural Genre, Florida State University, Tallahassee, [catalogue]
  • Still Life in Photography, Rotterdamse Kunststichting, Rotterdam, [catalogue]
  • Cash Gallery, New York
  • 1984 Allan McCollum / James Welling, Cash/Newhouse, New York
  • Civilization and the Landscape of Discontent, Nature Morte, New York
  • Artists’ Call, Metro Pictures, New York
  • 1983 In Plato’s Cave, Marlborough Gallery, New York, [catalogue]
  • Artificial Miracles, Simon Frazer University, Vancouver
  • 1982 Trouble in Paradise, A+M Artworks, New York
  • Natural History, Grace Borgenicht Gallery, New York
  • Love is Blind, Castelli Photographs, New York
  • Photograph, Metro Pictures, New York
  • On Location, Texas Gallery, Houston
  • Exhibition, California Institute of the Arts, Valencia, [catalogue]
  • Pictures and Promises, The Kitchen, New York
  • Erweitertre Fotografie, Weiner Secession, Vienna
  • 1980 Opening Group Exhibition, Metro Pictures, New York
  • Pictures in New York Today, P.A.C., Milan, [catalogue]
  • 1979 Imitation of Life, Hartford Art School, Hartford
  • 1978 The New West, The Kitchen, New York
  • 1976 Southland Video Anthology, Long Beach Museum of Art, Long Beach, [catalogue]
  • Evening of Works, LAICA, Century City
  • 1975 Indian Summer, Project INC., Cambridge
  • 1974 MFA Thesis Exhibition, Gallery D301, California Institute of the Arts, Santa Clarita
  • 1972 Newick, Osher, Welling, Hewlitt Gallery, Carnegie-Mellon University, Pittsburg

Solo Exhibition Catalogues & Monographs

  • 2014 James Welling. Art Institute of Chicago. (C) [forthcoming]
    James Welling: The Mind on Fire. Texts by Jane McFadden, Nigel Price, Anthony Spira, Jan Tumlir, Miguel von Hafe Pérez, and James Welling. Prestel, Munich. (C)
  • 2013 James Welling: Monograph. Texts by James Crump, Mark Godfrey, and Thomas Seelig. Interview with the artist by Eva Respini. Aperture, New York. (C)
  • 2012 James Welling: The Mind on Fire. Texts by Tamie Boley and James Welling. MK Gallery, Milton Keynes, England (exh. pub.)
    James Welling: Wyeth . Interview with the artist by Patricia Hickson. Wadsworth Atheneum Museum of Art, Hartford, Connecticut (exh. pub.)
    James Welling: Wyeth . Text by James Welling. Wako Works of Art, Tokyo. (C)
  • 2010 Frolic Architecture . Text by Susan Howe. Images by James Welling. The Grenfell Press, New York [limited edition]
    James Welling: Glass House. Text by Noam M. Elcott. Interview with the artist by Sylvia Lavin. Damiani, Bologna, Italy
  • 2009 Light Sources, SteidlMack, London.
  • James Welling, Gelatin Photographs 1-12, 1984, republished on the occasion of The Pictures Generation, 1974 – 1984, Metropolitan Museum of Art, New York.
  • 2007 New York, NY. David Zwirner. James Welling: Flowers, 2007. Text by Lynne Tillman and James Welling.
  • 2004 Welling, James & Welling, Will, Agricultural Works & Insect Chorus, Minetta Brook, 2004.
  • 2002 Welling, James, (essay by Rosalyn Deutsche), James Welling – Abstract, Palais Deas Beaux-Arts / Art Gallery Of York University, 2002.
  • 2001 Welling, James, Untitled 1981, Galerie Daniel Bucholz, Köln, 2001.
  • 2000 Welling, James, James Welling: Photographs 1974 – 1999, Wexner Center for the Arts, The Ohio State University, Columbus, USA.
  • 1999 Welling, James, James Welling – New Abstractions, Sprengel Museum Hannover, 1999.

Selected Books & Group Exhibition Catalogues

  • 2015 Darkroom Alchemists. Getty Publications, Los Angeles. (C) [forthcoming]
  • 2014 What is a Photograph? Texts by George Baker, Geoffrey Batchen, Hito Steyerl, and Carol Squiers. International Center of Photography and DelMonico Books/Prestel Verlag, New York. (C)
  • 2013 The Polaroid Years: Instant Photography and Experimentation. Texts by Peter Buse and Mary-Kay Lombino. The Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York and Prestel Verlag, New York. (C)
  • 2012 Pacific Standard Time: Kunst in Los Angeles, 1945-1980. Edited by Rebecca Peabody, Andrew Perchuk, Glenn Phillips, and Rani Singh. Martin-Gropius-Bau, Berlin
    This Will Have Been: Art, Love & Politics in the 1980s. Texts by Johanna Burton, Bill Horrigan, Elisabeth Lebovici, Helen Molesworth, et al. Museum of Contemporary Art Chicago and Yale University Press, New Haven, Connecticut. (C)
  • 2011 25 Years/25 Artists. Julie Saul Gallery, New York© Collection Vanmoerkerke. Rispoli Books, Brussels
    Jeff Wall: The Crooked Path. Edited by Hans de Wolf. Bozarbooks, Brussels and Ludion, Antwerp. (C)
    Jeff Wall: The Crooked Path/El sendero sinuoso. Edited by Hans de Wolf. Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain. (C)
    Mannerism and Modernism: The Kasper Collection of Drawings and Photographs. Texts by Jordan Bear, Rhoda Eitel-Porter, et al. Morgan Library & Museum, New York
    Pacific Standard Time: Los Angeles Art, 1945-1980. Edited by Rebecca Peabody, Andrew Perchuk, Glenn Phillips, and Rani Singh. Getty Publications, Los Angeles
  • 2010 Jack Goldstein. Text by Klaus Görner, Chrissie Iles, and Shepherd Steiner. Museum für Moderne Kunst, Frankfurt and Walther König, Cologne. (C)
    Mixed Use, Manhattan: Photography and Related Practices, 1970s to the Present. Edited by Lynne Cooke, Douglas Crimp, and Kristin Poor. Texts by Johanna Burton, Lynne Cooke, Douglas Crimp, Glenn Ligon, Danny Lyon, Lytle Shaw, Juan A. Suarez, Lena Sze, and David Wojnarowicz. Museo Nacional Centro de Arte Reina Sofía, Madrid. (C)
    Modern Views: Inspired by the Mies van der Rohe Farnsworth House and the Philip Johnson
    Glass House. Texts by Phyllis Lambert and Sylvia Lavin. Assouline, New York
    Nachleben. Text by Fionn Meade. Goethe Institut, New York (exh. pub.)
  • 2009 60. Innovators shaping our creative future. Texts by Charlotte Cotton, Emma Dexter, Hans Ulrich Obrist, James Welling, et al. Thames & Hudson, London
    1989: End of History or Beginning of the Future? Edited by Cathérine Hug, Gerald Matt, and Thomas Meißgang. Texts by Synne Genzmer, Cathérine Hug, Helmut Lethen, Gerald Matt, Thomas Mießgang, Mikhail Ryklin, and Martin Walkner. Kunsthalle Wien, Vienna and Verlag für moderne Kunst Nürnberg, Nuremberg, Germany. (C)
    The Aesthetics of Disappearance. Text by Paul Virilio. Semiotext(e), Los Angeles [cover]
    Can I Come Over To Your House: The First Ten Years of the Suburban. Texts by Michelle Grabner, Annika Marie, and Michael Newman. The Suburban, Oak Park, Illinois. (C)
    The Edge of Vision: The Rise of Abstraction in Photography. Text by Lyle Rexer. Aperture, New York©
    Verbania, Italy. (C)
    The Pictures Generation, 1974-1984. Text by Douglas Eklund. The Metropolitan Museum of Art, New York. (C)
  • 2008 Espèces d’espace: Les Années 1980, Première Partie. Texts by Yves Aupetitallot, Hal Foster, Maria Garzia, et al. Le Magasin – Centre National d’Art Contemporain, Grenoble, France. (C)
    Sonic Youth Etc.: Sensational Fix. Texts by Elein Fleiss, Kim Gordon, and Rolan Groenenboom. Walther König, Cologne. (C)
    This is Not to be Looked At: Highlights from the Permanent Collection of the Museum of Contemporary Art, Los Angeles. Texts by Ann Goldstein, Rebecca Morse, and Paul Schimmel. Museum of Contemporary Art, Los Angeles. (C)
    Whitney Biennial 2008. Texts by Henriette Huldisch, Shamim M. Momin, and Rebecca Solnit. Whitney Museum of American Art, New York. (C)
  • 2007 Atlas: de l’art contemporain à l’usage de tous. Text by Denis Gielen. Musée des Arts
    Contemporains, Hornu, Belgium
    Edit! Photography and Film in the Ellipse Collection. Texts by Albano Silva Pereira, João Oliveira Rendeiro, and Delfim Sardo. Centro de Artes Visuais, Coimbra, Portugal
    Like Color in Pictures. Text by James Welling. Aspen Museum of Art, Aspen, Colorado
    Paint It Blue: ACT Art Collection Siegfried Loch. Text by Roland Spiegel. Weserburg Museum für Moderne Kunst, Bremen, Germany. (C)
    Private/Public. Text by Mark Kremer. Museum Boijmans Van Beuningen, Rotterdam
    Viewfinder. Edited by Tamara Moats. Henry Art Gallery, Seattle. (C)
  • 2006 Catalog L.A.: Birth of an Art Capital 1955-1985. Text by Catherine Grenier. Editions du Centre Georges Pompidou, Paris. (C)
    Dark Places. Text by Joshua Decter. Santa Monica Museum of Art, Santa Monica, California Os anos 80: Uma topologia/The 80s: A Topology. Texts by Antonio Cerveira Pinto, João Fernandes, Ulrich Loock, Pier Luigi Tazzi, Alexandre Melo, Eduardo Paz Barroso, Bernardo Pinto da Almeida, Abigail Solomon-Godeau, and Denys Zacharopoulos. Museu Serralves, Porto. (C)
    Sixteen Tons: UCLA Department of Art Faculty. The Regents of the University of California, Los Angeles. (C)
  • 2005 London, United Kingdom. Thames & Hudson. Art Since 1900: Modernism, Antimodernism, Postmodernism, 2005. Texts by Hal Foster, Rosalind Krauss, Yve-Alain Bois and Benjamin H.D. Buchloh.
  • New York, NY. Metropolis Magazine. Looking at Los Angeles, 2005. Texts by Linda Dishman, Marla Hamburg Kennedy, Cindy Olnick, Ben Stiller, and David L. Ulin.
  • Paris, France. Passage du Retz, Paris. D’une Image qui ne Serait pas du Semblant: La
  • Photographie Ecrite 1950-2005, 2005. Text by Anne Tronche.
  • 2004 Arles, France. Analogues. Semaine N° 15: Cimaise et Portique, Albi: Kendell Geers: Sexus, 2004. Text by Jackie-Ruth Meyer
  • New York, NY. Sotheby’s. Choice Art: Planned Parenthood Auction for Choice, 2004.
  • Philadelphia, PA. Institute of Contemporary Art, University of Pennsylvania. The Big Nothing, 2004.
  • Roslyn Harbor, NY. Nassau County Museum of Art. Saluting the American Spirit through Art, 2004.
  • 2003 Cambridge, MA. MIT Press. The Contingent Object of Contemporary Art, 2003, pp 95, 97-98. Text by Martha Buskirk.
  • London, UK. Laurence King Publishing, Ltd. Photography, A Cultural History, 2003. p. 429. Text by Mary Warner Marien.
  • London, UK. Phaidon. Art and Photography, Text by David Campany. [illustration p. 156]
  • Minneapolis, MN. Walker Art Center. The Last Picture Show: Artists Using Photography, 1960-82, 2003. Text by Douglas Fogle. pp. 317-20.
  • New York, NY. Edition Schellmann. Double Exposure, 2002.
  • New York, NY. Refco Group, Ltd. Subjective Realities: Works from the Refco Collection of Contemporary Photography, 2003. pp. 242-243. Text by Adam Brooks.
  • 2002 Hartford, CT. Real Art Ways. Acquiring Taste, 2002. Text by Steven Holmes.
  • London, UK. Laurence King Publishing. Photography: a Cultural History, 2002.
  • New York, NY. Minetta Brook. Watershed, The Hudson Valley Art Project, 2002. Text by Alain Cueff.
  • Stuttgart, Germany. Arnoldsche. Die Kunst der Abstrakten Fotografie, 2002. Text by Gottfried Jager.
  • 2001 Dôle, France. Musée de Beaux-Arts. W, 2001.
  • New York. NY. Pamela Auchincloss / Arts Management. this is [not] a photograph, 2001. Text by A. D. Coleman.
  • Sarah J Rogers. Text by Michael Fried.
  • 1999 Ostfildern-Ruit, Germany. Hatje Kantz Verlag. Schöpfung, 1999. Text by Petra Giloy-Hirtz.
  • 1998 Luzern, Switzerland. Kunstmuseum Luzern. James Welling, 1998. Text by Ulrich Loock. p.43-51.
  • New York, NY. Edition Schellman. Sequences, 1998. Text by Susan Tallman.
  • San Francisco, CA. Fraenkel Gallery. Dust Breeding: Photographs, Sculpture & Film, 1998. Text by Steve Wolfe.
  • Tuscon, AZ. Center for Creative Photography. Sea Change: The Seascape in Contemporary Photography, 1998. Text by James Hamilton-Paterson.
  • 1997 Columbus, OH. Wexner Center for the Arts. Staging Surrealism, 1997. Text by Mary Ann Caws
  • Oakville, Ontario, Canada. Oakville Galleries, Canadian Museum of Contemporary
  • Photography. Track Records: Trains and Contemporary Photography, 1997. Texts by Marnie Fleming et al.
  • 1996 Frankfurt, Germany. Frankfurter Kunstverein. Prospect 96, 1996. Text by Peter Weiermair.
  • Ghent, Belgium. Imshoot Uitgevers. Light Sources, 1996.
  • 1995 Tokyo, Japan. Wako Works of Art. The Photographic Invisible: James Welling, 1995. Text by Minoru Shimizu
  • 1994 Chicago, IL. Arts Club of Chicago. “The Solid Geometry of Sight,” James Welling, 1994. Text by Janet Abrams.
  • Lynchburg, VA. Maier Museum of Art. Transport, 1994. Text by Helen Miranda Wilson.
  • Niwot, CO. Roberts Rinehart. Experimental Vision, The Evolution of the Photogramsince 1919, 1994. Text by Charles Hagen.
  • Seattle, WA. University of Washington Press. After Art: Rethinking 150 Years ofPhotography, 1994. Text by Andy Grundberg.
  • Wolfsburg, Germany. Cantz. James Welling: Wolfsburg, 1994. Texts by Uta Grosenick and James Welling
  • 1993 Antwerp, Belgium. Koninklijk Museum voor Schone Kunsten. The Sublime Void, 1993.
  • Calais, France. Le Channel, Scène Nationale de Calais. Usines de Dentelle, 1993. Text by James Welling.
  • Rotterdam, Netherlands. Museum Boymans-van Beuningen. Collection Modern Art, Boymans-van Beuningen Museum Rotterdam, Inventory of works acquired between 1985-1993, 1993.
  • Tokyo, Japan. Wako Works of Art. James Welling, Photographs 1977-1993, 1993. Text by Michiko Kasahara.
  • 1992 New York, NY. Edition Cantz/Abrams. Documenta IX, 1992. Text by Denys Zacharopoulos.
  • Oslo, Norway. Kunstnernes Hus. James Welling, Photographs, 1992. Text by David Deitcher.
  • Rochechouart, France. Musée Départemental d’Art Contemporain de Rochechouart. James Welling, 1992.
  • 1991 New York NY. IN Publishing. The Artist Project: Portraits of the Real Art World/New York Artists 1981-1990, 1991. Text by Peter Bellamy.
  • Vienna, Austria. Österreichisches Fotoarchiv im Museum Moderner Kunst, VomVerschwinden Der Dinge Aus Der Fotografie, The Disappearance of Things, 1991. Text by Suzanne Neuberger.
  • 1990 Bern, Switzerland. Kunsthalle Bern. James Welling: Photographs 1977-1990, 1990. Texts by Ulrich Loock et al.
  • Geneva, Switzerland. Ecole supérieure d’art visual. James Welling: 19 Photographs 1980, 1990.
  • Minneapolis, MN. Minnesota University Press. Photography at the Dock, 1990. Text by Abigail Solomon-Godeau.
  • Saint-Etienne, France. Maison de la Culture et de la Communication de Saint-Etienne. Les Voies Ferrees: Saint-Etienne et la Plaine du Forez, 1990.
  • 1989 Cambridge, MA. MIT Press. A Forest of Signs, 1989. Text by Ann Goldstein.
  • New York, NY. Hunter College Art Gallery, Photography and Abstraction, 1989. Text by Rosalind Krauss.
  • New York, NY. Shea and Beker Gallery. Diagrams & Surrogates, 1988. Text by Sol Ostrow,
  • Vienna, Austria. Galerie Nächst St. Stephan/Rosemarie Schwarzwalder. James Welling, 1989. Text by David Joselit.
  • 1988 Boston, MA. Institute of Contemporary Art, Boston. Utopia Post-Utopia, 1988. Texts by Fredric Jameson et al.
  • 1987 Berkeley and Los Angeles, CA. University of California Press. The Gold Standard and the Logic of Naturalism: American Literature at the Turn of the Century 1987. [cover illustration]
  • 1985 Buffalo, NY. CEPA. James Welling: Gelatin Photographs 1-12, 1985.
  • 1983 New York, NY. Marlborough Gallery, In Plato’s Cave, 198

Bibliography

  • 2014 Pollack, Maika. What is a Photograph? at the International Center of Photography and ‘AWorld of Its Own: Photographic Practices in the Studio’ at the Museum of Modern Art. New York Observer 17 February 2014, B4
  • 2013 Chang, Phil. Cache, Active: Conversation with James Welling. Aperture, Spring 2013 pp.141, 147
    Feeney, Mark. James Welling: an interest in the interstitial, bostonglobe.com 23 February 2013
    Fried, Michael, Previews: James Welling: Monograph Artforum January 2013, p.81
    Mac Giolla Léith, Caoimhín. Welling’s Wyeth, Afterall Spring 2013, pp.20-32
    Merjian, Ara H. James Welling, Frieze January/February 2013, p.158
    Pfarrer, Steve. Hybrid images: On view at UMass, James Welling works combine painting, sculpture, photography, amherstbulletin.com 27 February 2013
    Risch, Conor. Tour de Force, Photo District News March 2013 pp.46-50
    Rosen, Steven. Welling: Photos of a Lifetime, cincinnati.com , 25 January 2013
    Spira, Anthony. James Welling: The Mind on Fire, Afterall, Spring 2013 pp33-41
    Zhong, Fan. Photo Op. W February 2013, p.114
  • 2012 Bush, Bill. Now Isn’t That Spacial?: This Artweek.LA. huffingtonpost.com 28 February
    Carmichael, Elisa. Showtime, The Art Street Journal August 2012 pp.28-45
    Dunne, Susan.Welling Photos An Homage To Wyeth, Hartford Courant 25 March 2012 G1-G2
    Falconer, Morgan. Homespun Heroics, The World of Interiors ,October 2012 pp.106-11
    Feitelberg, Rosemary. Scene, WWD, 11 September 2012, p.2
    Feßler, Anne Katrin. Neue Perspektiven: In Wien blicken Künstler auf moderne Architektur, Monopol February 2012 p101
    Heuer, Megan. James Welling: David Zwirner. Art in America November 2012 p.164
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    Rexer, Lyle. James Welling: ‘Wyeth,’ Wadsworth Atheneum Museum of Art. photographmag.com 11 June 2012
    Robertson, Rebecca. Wyeth Redux. ARTnews, April 2012, p. 27
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    Sholis, Brian. James Welling: David Zwirner, Artforum November 2012, p.275
    Suqi, Rima. Q & A: Images from Wyeth’s World, Paint Splatters and All, The New York Times, 23 August 2012, D2
    Welling, James. The Artists’ Artists. Artforum, December 2012, p.116
    Wilson, Michael. Odd Couples, New York Observer 29 October 2012, B9
    Woodward, Richard. Where Painting and Photography Blur, The Wall Street Journal 27 December 2012, D6
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  • 2011 McLean-Ferris, Laura, Anti-Photography, Art Review, April 2010, p.112.
    Stillman, Steel, In The Studio: James Welling, Art In America, cover & pp.54-61.
    Tsitsovits, Yannis, Stained Glass: James Welling at Maureen Paley, undercurrentmagazine.com, 24 April 2011.
    Welling, James, Art In Los Angeles, Artforum, October 2011, p.283.
  • 2010 Archey, Karen, James Welling, Map, Summer 2010, p.81.
  • Grabner, Michelle, James Welling, Artforum, February 2010, pp.207-208.
  • Witkovsky, Matthew, Another History, Artforum, March 2010, pp.212-221.
    Herbert, Martin, Sunless, Frieze, November-December 2010, pp.133-134.
    Sepuya, Paul Mpagi, Glass House, PIN-UP, Spring-Summer 2010, p.18.
  • 2009 Fowle, Kate, The Pictures Generation: 1974-84, Frieze, Summer 2009, pp.184-185.
  • Lobel, Michael, Previews: The Pictures Generation, 1974-1984, Artforum, January 2009, p.108.
  • Welling, James, Untitled, Degrades Series, 2004, Another Magazine, Spring/Summer 2009.
  • 2008 Elcott, Noam M, The Shadow of the World, Aperture, Spring 2008, pp.30-39.
  • Untitled (Vicarious): Photographing the Constructed Object, Pluk, October 2008, pp.32-33.
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  • 2007 “Goings On About Town: Flower Power,” New Yorker, 23 April 2007, pp.8, 15.
  • Scwabsky, Barry, The 80’s: A Topology, Artforum, Summer 2007, pp.488-489.
  • 2006 Davis, Tim, “Galleries Uptown“, New Yorker, March 2006.
  • Gray, Emma, “LA Confidential.” artnet.com (August 2006)
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  • O’Reilly, Sally, “Pescali & Sprovieri“, Freize, June 2006, p272.
  • “What’s On“, The Art Newspaper, No. 174, November 2006, p11.
  • 2005 Kitamura, Katie, “Review, James Welling, Regen Projects”, Pluk, Issue 24, May – June 2005, p37.
  • unsigned, “Alumni News.” Carnegie Mellon: School of Art- Newsletter, (Fall 2005, p.5.
  • unsigned, “Flowers.” Blind Spot, Issue 30, (2005), pp. cover – 7.
  • unsigned, “Galleries—Chelsea: The Photograph in Question.” The New Yorker (July 11 & 18, 2005), p. 20.
  • unsigned, “Don’t Miss! James Welling, ‘New Work.’” Time Out New York, (Apr. 14-20, 2005), p. 65.
  • unsigned, “The Marc Look: The New Eyewear Line from Marc Jacobs,” Vitals, (Spring 2005), p. 38.
  • unsigned, “Galleries—Chelsea: James Welling.” The New Yorker (April 25, 2005), p. 22.
  • unsigned, “Galleries – Chelsea: ‘The Photograph in Question.” The New Yorker (July 11 & 18, 2005), p. 20.
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  • Lambrecht, Luk, “De waarheid volgens James Welling,” De Morgen, Brussels, (April 25 2002)
  • Mahoney, Robert. “Justine Kurland, Catherine Opie, Martha Rosler and James Welling at Gorney Bravin + Lee”, Time Out New York, (27 June – 4 July 2002), p. 56
  • Milroy, Sarah “Playful Pictures of Light and Texture”, The Globe and Mail, (Nov. 29, 2002), p. R4
  • Tillman, Lynne, “This is Not It, D. A. P”, New York, p. 177
  • Tumlir, Jan. “Previews: James Welling, Palais des Beaux-Arts, Bruxelles”, Artforum, (Jan. 2002), p. 72
  • Ziegler, Ulf “Zwischen Begriff und Gegenstand: James Welling abstrake Fotografien seit 1975,” Frankfurter Rundschau, (August 17, 2002)
  • unsigned, “een ode aan het licht,” De Standaard, Brussels, (March 7, 2002)
  • 2001 Egan, Maura. “Prize Matters.” Details, (January/February 2001), pp. 124-131. [photos by Welling]
  • Fried, Michael, gallery talk, MoCA, Los Angeles (unpublished)
  • Intra, Giovanni. “Reviews: James Welling at MoCA”, artext, (Aug. – Oct. 2001), p. 77
  • Jones, Kristin M. “James Welling at Gorney Bravin + Lee”, Frieze, (May 2001), pp. 99-100
  • Joselit, David. “Surface Histories: The Photography of James Welling,” Art in America, (May 2001), pp. 136-143
  • Knight, Christopher. “The Melancholy Process, History of Photography,” Los Angeles Times, (May 8,2001)
  • Lin-Eftekhar, Judy. “Photographer captures surreal landscapes, luminous scene,” UCLA Today, (April 10,2001).
  • Loreto Mondloch, Katie. “Review: James Welling at MoCA, LA”, Tema Celeste, (September-October 2001), p.85
  • Manroe, Candace Ord. “The Art of the Stairway.” Traditional Home, (March 2001), pp. 148-149. [ill.]
  • Mitchell, Roger, Savage Baggage, (cover photograph by James Welling) The Figures, Great Barrington, MA
  • Myers, Holly. “Light”, LA Weekly, (20-26 July, 2001), p. 47
  • Rogers, Sarah J. “James Welling: Photographs 1974-1999,” The Contemporary, (March/April/May 2001), pp. 8-9. [illustration]
  • Rowley, Alexandra, Turn Shake Flip, Eyestorm, New York, p. 41
  • Tillman, Lynne. “Portfolio: James Welling,” Artforum, (May, 2001), pp. 139-143
  • Welling, James, portrait of Wolfgang Tillmans in Details, (January, 2001), pp. 124, 127.
  • Zellen, Jody. “Mining the Photographic Process,” dArt International, (Winter 2001), p.40
  • unsigned. “James Welling: Photographs 1974-1999.” The Contemporary, The Museum of Contemporary Art, (June/July/August 2001), pp. 2, 8.
  • unsigned. “James Welling: Photographs 1974-1999,” UCLA Spotlight, (Sept. 25, 2001).
  • 2000 Giuliano, Mike, “James Welling Finds the Complexity.” City Paper Baltimore, (September 6, 2000), p.37
  • Brooke Schleifer, Kristen, “James Welling: New Abstractions and Work from the Seventies,” Art on Paper, (July-August 2000), p.58, ill.
  • Ollmans, Leah, “Ambiguous Artifacts: James Welling and Sharon Lockhart,” Los Angeles Times, (Friday, March 3 2000)
  • Relyea, Lane, “Review: James Welling at the Wexner Center for the Arts, Columbus, OH,” Artforum, (September, 2000), p. 171
  • Welling, James, “Los Angeles Photographs, 1976-78,” October, Issue 91, Winter, p.81-100
  • Welling, James, “Photography in the ‘00s,” UCLA, (Summer 2000), pp.38-43
  • Yates, Christopher A. Yates, “From bright to brooding,” Columbus Dispatch, (May 21, 2000)
  • 1999 Hirsch, Faye, “Working Proof: James Welling”, Art On Paper, (Mar.-Apr., 1999), p.56
  • “Rethinking Genres in Contemporary Photography,” Art On Paper, (January-February 1999), p.33
  • Solomon, Deborah, “How to Succeed in Art,” New York Times Magazine, (June 27, 1999), pp.38-41,ill.
  • Schmerler, Sarah, “Pencils of Nature: A Dialogue,” Time Out / New York, (July 22-29, 1999) p.80
  • Sonna, Birgit, “Der Janusköpfige: James Welling…,” Süddeutsche Zeitung (Munich), (Dec. 6, 1999)
  • 1998 Aletti, Vince, “Photo Short List: James Welling,” Village Voice, (Sept. 29, 1998), p.73
  • Cotter, Holland, “James Welling, Early Photographs: 1976-1985,” The New York Times, (October 16,1998), p.E-37
  • Grynsztejn, Madeleine. “James Welling.” forum, no. thirty-seven, (1998).
  • Miller, Donald, “Intense photographic images recall Pittsburgh’s gritty past,” Pittsburgh Post-Gazette,(November 28, 1998), p.D-8
  • Shearing, Graham, “New light on the familiar: James Welling…,” Pittsburgh Tribune Review, (November 19, 1998), p.27
  • Squiers, Carol, “A Slice of Light”, Artforum, (January 1998), pp. 76-79.
  • Wahler, Marc-Olivier. “L’hypothèse du tableau volé”, Art Press, (October 1998)
  • 1997 Aletti, Vince, “Photo Short List: James Welling,” The Village Voice, (Mar 18, 1997), p.11
  • Fink, Barbel, “James Welling,” Camera Austria, issue #59/60, pp.70-80
  • Mitchell, Charles Dee, “James Welling at Jay Gorney,” Art in America, (July 1997), p.92
  • Schmerler, Sarah, “James Welling, Light Sources’,” TimeOut/New York, (March 20- 27,1997), p.47
  • Squiers, Carol, “James Welling,” Grand Street, issue #61, pp.169
  • Welling, James, “Railroad Towns,” Grand Street, issue #61, pp.160-168 (photo portfolio in“All-American” issue)
  • 1996 Berriolo, Elana & Flexner, Roland, “Art in the Folds,” New Observations, issue #110, p.45
  • Cross, Andrew, “Evident”, Great: The Magazine of The Photographers’ Gallery, London, (November/December 1996), p.6-7
  • Cross, Andrew, “New Landscapes: Axel Hütte & James Welling,” Creative Camera, (October/November 1996), p.8-17
  • Frank, Peter, “James Luna, Allan Sekula, Deep Surface,” L. A. Weekly, (August 23-29, 1996)
  • Pagel, David, “Meditations on Morality and the Depiction of Space,” Los AngelesTimes, (Aug. 22, 1996).
  • Silver, Joanne, “Photography Distills Nature,” Boston Sunday Herald, (January 7, 1996), p. 42
  • Williams, Gilda, “Evident / The Photographers’ Gallery,” Art Monthly, (December 1996)
  • “James Welling.” Bomb, No. 54, (Winter 1996), pp. 14-15.
  • 1995 Aletti, Vince, “Voice Choices: James Welling,” Village Voice, (Dec. 19, 1995), p.10
  • Auerbach, Lisa Anne, “James Welling: Regen Projects,” Artforum, (March 1995)
  • Bonetti, David, “Gallery Watch: Rena Bransten Gallery,” San Francisco Examiner, (September 22, 1995), p.C-7
  • Grundberg, Andy, “James Welling”, The New York Times, (September 30, 1995)
  • Grundberg, Andy, “Beyond Description: Content in Today’s Photography, Independent Curators: New York, broadsheet
  • Medeiros, Margarida, “James Welling: Módulo”, Publico, (January 14, 1995)
  • Medeiros, Margarida, “Paisagens e interiores”, Publico, (January 7, 1995)
  • Schwarzwalder, Rosemarie, Klares Programm: Galerie Arbeit Heute, Lindinger+Schmid,Regensburg, P.77
  • Servetar, Stuart, “Art”, New York Press, (December 13-19, 1995), p. 76
  • unsigned, L’Immagine Riflessa, Prato: Museo Pecci, unpaginated
  • unsigned, Whitney Center Pieces, Volume 2, No. 2, Whitney Center: Hamden, Fall
  • 1994 Battarra, Enzo, “La teoria? E’ un gioco di eventi,” il Giornale di Napoli, (June 30, 1994)
  • Grundberg, Andy, “Who are the Most Underrated and Overrated Artists?” Art News, New York, (February 1994)
  • Karmel, Pepe. “Out of the Ghetto,” Artnews, (April 1994)
  • Smith, Roberta, “Group Shows of Every Kind…,” The New York Times, (Feb. 25, 1994)
  • Thorkildsen, Asmund, Nettverk. Network, The Olympic Collection 94, Oslo: De norske Bokklubbene AS, p. 87
  • 1993 Balau, R.&’m.James Welling: Laces Factories. Forum International, no. 19, (Oct-Nov 1993), p. 142.
  • Cassiman, Bart (Ed.,) The Sublime Void. Antwerp: Koninklijk Museum voor Schone Kunsten, pp. 10-11, 125, 208-209, 260-261
  • Demarty, Marie-Pierre, “Welling entre dans l’usine,” Nord Littoral, Calais, (April 16 1993)
  • Hagen, Charles, “James Welling,” The New York Times, (May 14, 1993)
  • Hume, Christopher, “Industrial Photography,” The Toronto Star, Toronto, (Jun. 10, 1993)
  • Upshaw, Reagan, “James Welling at Jay Gorney,” Art in America, (December 1993)
  • “James Welling Railroad Photographs,” Blind Spot, Issue 1, (1993)
  • 1992 Ament, Deloris, Tarzan, “Through the lens of history,” The Seattle Times, (Sep. 24, 1992)
  • Hackett, Regina, “Familiar scenes are shot with cold perfection,” Seattle Post-Inteligencer, (Sep. 24, 1992)
  • Michaels, Walter Benn, “Photography as Art,” unpublished paper delivered at Photography and Art, Emily Carr College of Art, Vancouver, (April 1992)
  • Smallwood, Lyn, “Shooting the rails,” Seattle Weekly, (September 30, 1992)
  • 1991 Aletti, Vince. “James Welling,” The Village Voice, (May 7 1991)
  • Messler, Norbert. “James Welling: Wunder der sichtbaren Welt,” Noema Magazine, (May 1991)
  • Schjeldahl, Peter, “At the Salon of April,” The Village Voice, (May 14, 1991)
  • unsigned, “Grandes Lignes, quand l’art entre en gare,” Beaux-Arts (1991), pp. 46-47
  • 1990 Bianchi, Pado, “James Welling: Photography 1977-1990 at the Kunsthalle Bern,” Kunstforum, (November/December 1990)
  • Cueff, Alain, “Et Welling Aussi”, Beaux-Arts, #75, (January 1990), pp. 68-75
  • Loock, Ulrich, “Meanings at Our Disposal,” Parachute, (October / December 1990)
  • Raczka, Robert, “James Welling at Beaver College,” New Art Examiner, (February 1990)
  • Trippi, Laura, “Interview,” Strange Attractors: Signs of Chaos, New York: New Museum (1990)
  • Troncy, Eric, “James Welling,” Flash Art, Milan, (October 1990)
  • Van den Boogerd, Dominic, “James Welling: Feiten en Ficties van de Fotographie,” Metropolis M, No. 5, (October 1990), pp. 44-4
  • 1989 Decter, Joshua, “James Welling at Jay Gorney Modern Art,” Flash Art, (January/February 1989)
  • Faber, Monika, “Gallery Talk, 28 April 1989,” Galerie Nächst St. Stephan/Rosemarie Schwarzwalder, Vienna, unpublished
  • Haus, Mary, “150 Years of Photography,” Artnews, #4, Vol. 88, (Apr. 1989), pp. 162-163
  • Nesweda, Peter, “The Yearning of a Society Without History,” Der Standard, (May 10, 1989)
  • Princenthal, Nancy, review, The Print Collector’s Newsletter, vol XX, No. I, (March –April 1989)
  • Prodhon, Francoise-Claire, “James Welling at Samia Saouma, Paris,” Flash Art (1989)
  • Scheuer, Daniel, “150th at f2 Snapshots of Contemporary Art Photography,” Center Quarterly: A Journal of Photography and Related Arts, vol. II, Number 1
  • unsigned, Abstraction in Contemporary Photography, published for Emerson Gallery, Hamilton College, Clinton, NY, and Anderson Gallery, Virginia Commonwealth University, Richmond, VA
  • unsigned, “James Welling at Beaver College,” The Philadelphia Enquirer, (October 26, 1989)
  • 1988 Bankowsky, Jack, Flash Art, (Spring 1988)
  • Collins, Tricia and Milazzo, Richard, “Art at the End of the Social,” Art at the End of the Social, Rooseum: Malmo, 1988. pp. 79-88
  • Fairbrother, Trevor, Bi National: American Art of the Late 80’s, Boston, MA: Museum of Fine Arts, 1988.
  • Grundberg, Andy, The New York Times, (March 25, 1988)
  • Grundberg, Andy, “Camera Culture in a Postmodern Age,” Photography and A Interactions Since 1946, New York: Abbeville Press, P. 225
  • Hoy, Anne H., Fabrications-Staged, Altered, and Appropriated Photographs, New York: Abbeville Press, 1988
  • Johnson, Ken, Art in America, (July 1988), pp. 135-136
  • Joselit, David, “Saying the Unsayable,” Solomon-Godeau, Abigail, “Beyond the Simulation Principle,” Welling, James, “Catalogue Proposal, 1987, Utopia Post
  • Utopia: Configurations of Nature and Culture in Recent Sculpture and Photography, MIT Press: Cambridge, pp. 2, 13, 37, 55, 71,73, 85, 103, 105
  • Krauss, Rosalind, “A Debate on Abstraction,” Photography and Abstraction, (May 1988)
  • Linsley, Robert, “In Pursuit of the Vanishing Subject: James Welling and Rodney Graham,” C Magazine, (Winter 1988)
  • Morgan, Robert, review, Arts Magazine, (Dec. 1988)
  • Ramsey, Ellen, “Rodney Graham, James Welling,” Vanguard, (February 1988)
  • unsigned, Implosion: A Postmodern Perspective, Stockholm: Moderna Museet, pp. 152-155
  • 1987 Grundberg, Andy, “Camera Culture in a Postmodern Age,” Photography and Art: 1946-86, Los Angeles, CA, LA County Museum of Art, New York: Abbeville Press, 1987, p. 225
  • Ottman, Klaus, “The Spectacle of Chaos”, Flash Art (1987)
  • Relyea, Lane, review of show at Kuhlenschmidt/Simon Gallery, L.A. Weekly, (May 1987)
  • unsigned, “Untitled (Man, School, Shoe),” Skeptical Belief (s), Chicago: The Renaissance Society 1986 Collins, Tricia and Milazzo, Richard, “James Welling: Party Favors,” Kunstforum International, (March/April/ May 1986)
  • Decter, Joshua, review, Arts, (February 1986)
  • Foster, Hal, “Signs Taken for Wonders,” Art In America, (May 1986)
  • Welling, James, “Gelatin Photographs,” File Magazine, #26: (X-mas 1986)
  • __, “Galgiani’s Image”, to accompany “Simple Conjunctions,” an installation by Phillip Galgiani, San Francisco Museum of Art 1984 Gintz, Claude, Ailleurs et Autrement, Paris: ARC
  • Grundberg, Andy, “The Fall from Grace of a Spiritual Guru,” The New York Times,(September 2, 1984), p. 19
  • Grundberg, Andy, The New York Times, (March 2, 1984)
  • Johnson, Ken, “James Welling at Christine Burgin,” Art in America, (July 1984)
  • Collins, Tricia & Milazzo, Richard, Hybrid Neutral, catalogue for traveling exhibition
  • Salle, David & Welling, James, “Images that Understand Us: A Conversation with David Salle and James Welling,” LAICA Journal, #40, (Fall 1984)
  • Wallis, Brian (Ed.,) Art after Modernism, Rethinking Representation, Boston: David R. Godin, pp. 78, 80, 168
  • Welling, James, “Abstract,” Effects-Magazine for New Art Theory, #2
  • 1983 Solomon-Godeau, Abigail, In Plato’s Cave, New York: Marlborough Gallery, (Oct- Nov. 1983)
  • 1982 Cook, Scott, Natural History, New York: Grace Borgenicht Gallery, unpaginated
  • Grundberg, Andy, “In Today’s Photography Imitation Isn’t Always Flattery,” The New York Times, (Nov 14, 1982), p. H31.
  • Owens, Craig, “Back to the Studio”, Art In America, (January 1982)
  • Solomon-Godeau, Abigail, “Playing the Fields of the Image,” After Image, (Summer 1982)
  • Solomon-Godeau, Abigail, “In Plato’s Cave,” In Plato’s Cave, New York: Marlborough Gallery
  • 1981 Lifson, Ben, “Collage à Trois,” The Village Voice, (April 8-14, 1981), p. 92
  • 1980 Welling, James, Performance Anthology, critical writings, ed. Carl Loeffler, San Francisco: Contemporary Arts Press
  • Thornton, Gene, “Narrative Works—-And Arbus,” The New York Times, (September 1980)

Awards & Fellowships

  • 2014 Infinity Award International Center of Photography
  • 2009 Pilara Foundation Distinguished Visiting Photography Fellow
  • 2007-2008 International Association of Art Critics Award of Excellence to James Welling/First Place/Best Show in a Commercial Gallery Nationally for James Welling, Regen Projects, Los Angeles
  • 1999 DG BANK-Förderpreis Fotografie, Sprengel Museum Hannover
  • 1986 New York Foundation for the Arts Fellowship
  • 1985 National Endowment for the Arts Fellowship

Lectures & Conversations

  • 2014 After Andrew Wyeth, National Gallery of Art, Washington, D.C.
    James Welling, International Center of Photography, New York
  • 2012 Hard Cases: Art form, medium, and appreciative kind – Themes from the work of Dominic McIver Lopes, University of Warwick, Coventry, England (conference)
    James Welling: The Mind on Fire, MK Gallery, Milton Keynes, England
    James Welling: A Window on Wyeth, Wadsworth Atheneum Museum of Art, Hartford,
    Connecticut
  • 2011 James Welling, Auerbach Lecture, Hartford Art School, University of Hartford, Hartford, Connecticut
    UCLA Department of Art Lecture: James Welling, Hammer Museum, Los Angeles
  • 2010 James Welling: Artist Talk, Newman Lecture on Contemporary Photography, Minneapolis Institute of Arts, Minnesota (on the occasion of the exhibition New Pictures 3: JamesWelling, Glass House)
  • 2009 Artist’s Talk with James Welling, Aperture Foundation, New York
    Conceptual Art and Photography: James Welling in Conversation with Jan Dibbets, The Museum of Modern Art, New York
  • 2008 James Welling in Conversation with Walead Beshty, Whitney Museum of American Art, New York (on the occasion of the 2008 Whitney Biennial)
  • 2007 Conversations with Artists: James Welling, Los Angeles County Museum of Art
    A New Luminism, Hammer Museum, Los Angeles
    Visiting Artist Program presents James Welling, University of Texas at Austin, Austin, Texas
  • 2005 James Welling on Andy Warhol, Artists on Artists Lecture Series, Dia Art Foundation, New York
  • 2001 James Welling in Conversation with Michael Fried, Museum of Contemporary Art, Los Angeles

Teaching

  • 1995 – present Professor, Department of Art, UCLA
  • 1995 Visiting Lecturer, Visual Art Program, Department of Architecture, MIT, Cambridge, MA, Spring Semester
  • 2012 Princeton

Film Producer

  • 2004 Executive Producer, independent feature film, Easy:
  • Official Selection, Toronto International Film Festival
  • Official Selection, Dramatic Competition, Sundance Film Festival

Curatorial Projects

  • 2008 Anthony Hernandez, Christopher Grimes Gallery, Santa Monica, USA

Public Collections

  • Addison Gallery of American Art, Andover, USA
  • Albright-Knox Art Gallery, Buffalo, USA
  • Allen Memorial Art Museum, Oberlin College, Oberlin, USA
  • Art Gallery of Ontario, Toronto, Ont., Canada
  • Baltimore Museum of Art, Baltimore, USA
  • Centre Pompidou, Paris, France
  • City Collection, Geneva, Switzerland
  • Des Moines Art Center, Des Moines, USA
  • Frac Bourgogne, Dijon, France
  • Frac Nord Pas-de-Calais, Lille, France
  • Frac Pays de Loire, Clisson, France
  • Grunwald Center for the Graphic Arts, U.C.L.A. at The Armand Hammer Museum, Los Angeles, USA
  • Henry Art Gallery, University of Washington, Seattle, USA
  • Jane Voorhees Zimmerli Art Museum, Rutgers University, New Brunswick, USA
  • Kunstmuseum Wolfsburg, Wolfsburg, Germany
  • Los Angeles County Museum of Art, Los Angeles, USA
  • Museet for Samtidskunst, Oslo, Norway
  • Museum Boymans van Beuningen, Rotterdam, The Netherlands
  • Metropolitan Museum of Art, New York, USA
  • Museum of Contemporary Art, Los Angeles, USA
  • Museum of Modern Art, New York, USA
  • Museum Moderner Kunst, Vienna, Austria
  • Olympic Collection, Oslo, Norway
  • Tokyo Metropolitan Museum of Photography, Tokyo, Japan
  • University of California San Francisco, USA
  • Vancouver Art Gallery, Vancouver, B.C., Canada
  • Wadsworth Atheneum, Hartford, USA
  • Whitney Museum of American Art, New York, USA
  • Yale University Museum of Art, New Haven, USA